to give unity to his poem, as the former cantos had also been named after rivers. But the two new cantos are really a Slavic _Paradiso_ and _Inferno_ modelled on Dante. Kollar has here glorified and stigmatised those whom he considered prominent friends or enemies of the Slav race. It must be confessed that large portions of these cantos consist in a mere enumeration of names, often of persons who have long sunk into oblivion. Thus we find in hell a Miss Pardoe, who wrote a long-forgotten book of travels in Hungary, in which she, it appears, adopted the Hungarian standpoint, always hostile to the Slavs. Kollar, in his new peregrinations, is no longer accompanied by Milek, but by the "Daughter of Sláva," the glorified Mina Schmidt. The last sonnet of the poem, which I shall translate, contains an appeal of the "Daughter of Sláva" to all her countrymen, exhorting them to concord. Though no subject could then be more original than the glorification of the then little-known Slav races, Kollar's poem yet contains many reminiscences of other writings. It has already been stated that the leading idea of the two last cantos is borrowed from Dante. The pilgrim in the earlier cantos sometimes recalls _Childe Harold_. Mina, or the "Daughter of Sláva," is sometimes modelled on Beatrice, sometimes on Laura. Kollar indeed never made a secret of the fact that he had studied the poetry of Western Europe. Such study was indeed a necessity at a time when, with the exception of the songs of the people, the Slavs possessed no poetry. Bohemian critics agree in asserting that the first canto of the _Slávy Deera_, written under the influence of a passionate love for Mina, is infinitely the best. The introduction to the poem has also been justly admired. It is interesting also as containing a general exposition of the author's views and dreams concerning the past and future of the Slavic race. Want of space will oblige me to quote only a portion of the "fore-song." Kollar, viewing the former homes of his race, exclaims: "Here before my tearful eyes lies the land, Once the cradle, now the tomb, of my nation. Stop! it is holy ground on which you tread. Son of the Tatra (Carpathian mountains), raise your head towards heaven, Or rather guide your steps towards that oak-tree Which yet defies destructive Time. But worse than Time is man, who has placed his iron sceptre on thy neck, O Sláva; Worse than wild war, more fearful than thunder, than fire, Is the man who, blinded by hate, rages against his own race.[154] O ancient times that surround me as with night! O land that art a record of all glory and all shame! From the treacherous Elbe to the perfidious plains near the Vistula, From the Danube to the devouring waves of the Baltic, In all these lands the harmonious language of the brave Slavs once resounded. Succumbing to hatred, it now has perished. And who has committed this offence that cries to heaven for vengeance? Who